Interior of railway compartment

SHAKE and NORM are seated. SHAKE is buried in a [science fiction book]

Mad Magazine. NORM looks at his watch, slightly worried.

NORM: He's been gone a long time.

SHAKE: (without looking up) Who?

NORM: Paul's grandfather.

SHAKE: Oh, I didn't notice, where'd he go?

NORM: Down the.. er...

SHAKE: Oh, down the... er...?

NORM: Yeah, down the... er...

SHAKE: Well, give a couple of minutes...

He resumes reading. But NORM goes on worrying.

[INTERIOR OF ANOTHER RAILWAY COMPARTMENT]

[GRANDFATHER is in full flight of conversation with a charming elderly

lady, AUDREY, who is listening intently.]

[GRANDFATHER: (proudly) Yes, I'm their manager, I discovered them.]

[AUDREY: Did you indeed, Mr. McCartney?]

[GRANDFATHER: Now, Audrey, I told you, the name's John. We show biz

people are a friendly lot.]

[AUDREY: Of course.]

[GRANDFATHER: Yes, they were playing the queues outside the picture

palaces of Liverpool. Scruffy young lads, lacking even the price of a jam

roll. Orphans, every Paddy's son of 'em. I saw their potential at once

although I had me doubts about the little fella, a savage primitive, that

Ringo, but it was him what gave in first. He picked up a brick and heaved

it at me and I quelled him wid one fierce flash of me eyes. "Mister, can

you spare us a penny copper?" he said. I was disarmed by the grubby

little outstretched mauler... So, I took them under me managerial

banner.]

[AUDREY: The usual ten per cent?]

[GRANDFATHER: Oh, not at all, I let them have twenty-five; sure aren't

there four of them?]

[AUDREY: (her eyes lighting up) How fascinating. Do go on...

(pause)... John.]

[GRANDFATHER: Oh, I'm all heart, Ma'am, all heart... Well, I let...]

INTERIOR CORRIDOR OF TRAIN

NORM and SHAKE meet with the BOYS as they are returning from coffee.

NORM: Eh, have you got Paul's grandfather?

JOHN: Of course, he's concealed about me person.

NORM: No... he's slipped off somewhere.

PAUL: (accusingly) Have you lost him?

NORM: Don't exaggerate.

PAUL: You've lost him.

SHAKE: Put it this way, he's mislaid him.

PAUL: You can't trust you with anything, Norm. If you've lost him, I'll

cripple you.

SHAKE: He can't be far.

[JOHN: I hope he fell off.]

[PAUL: (mildly) Don't be callous.]

(NORM: Come lads, lets look up the sharp end.)

(GEORGE: What's the matter with you, then.)

(RINGO and GEORGE are looking out a window together.)

RINGO: [He] (His grandfather) doesn't like me, honest, I can tell...

it's 'cos I'm little.

GEORGE: You've got an inferiority complex, you have.

RINGO: Yeah, I know, that's why I took up the drums. It's me active

compensatory factor.

JOHN and PAUL run down the corridor. SHAKE and NORM turn from the door

and go in the opposite direction, GEORGE and RINGO follow after the other

two BOYS.

INTERIOR CORRIDOR OF TRAIN

PAUL and JOHN look into various compartments. CLOSE SHOT of RINGO looking

into compartments in the manner of Groucho Marx. In one of the

compartments we see from RINGO's P.O.V. the occupant, a glamorous woman,

TANIA, with a small lap dog. She is beautifully and most expensively

dressed. She looks up and sees RINGO. RINGO smiles at her and she smiles

back. She then beckons him to join her. He looks around to see if she

means someone else. She nods a negative. RINGO looks back enquiringly

then points at himself as if to say: "Who, me?" TANIA smiles

enthusiastically. GEORGE has been watching all this.

GEORGE: Are you going in, then?

RINGO: No, she'll only reject me in the end and I'll be frustrated.

GEORGE: You never know, you might be lucky this time.

RINGO: No, I know the psychological pattern and it plays hell with me

drum skins.

RINGO blows her a kiss. She blows RINGO a kiss back but he then moves

sadly on.